ABSTRACT
The difficulties in writing about such work as Rose Lowder' s Composed Recurrence are not new. Ben Brewster, who can articulate with precision the problems of Marx's notion of capital in relation both to fetishism and to Althusser' s problematizing of such long ago readily admitted the problems involved in writing about the signifier in film: "It' salmost impossible to write about films like Wavelength or Room Film 1973 and others, because their work is with the signifier. It's almost impossible to state something about that process ... there' s no language for it" (Ben Brewster, Edinburgh Film Festival, August 1976). The hesitancy in some of the writing in this book attests to this difficulty.
